LB 




LIBRARY OF CONGRESS. 



Chap. Copyright No. 

Shelf..LS..L^ 75 
^5- 

UNITED STATES OF AMERICA. 






CoPYRir.HTED, 1896 
BY 

Adelhkrt E. Kellorg 

AND 

Milton E. Blanchard. 



ENGLISH LITERATORE IN THE NINTH GRADE. 

WORK SUGGESTED FOR THE NHTH GRADE IN CONNECTION WITH 
LONGFELLOW'S " EVANGELINE." - 



SEC. I. GENERAL WORK: THE POEM AS A 
WHOLE. 

Read the poem through in class. Object — familiarity with 
the story; interest and enjoyment in the poem itself, uutram- 
meled by didactic exercise, analysis, or any form work what- 
ever. Teacher to give freely explanations of matters relative 
to history, manners, customs, superstitions. 

In this first reading, attention may be called, in passing, to 
any of the grand or subordinate divisions (see "General 
Analysis," Sec. VI. c); some explanation of the metre should 
also be given, together with practice in .scansion, to secure a 
more melodious reading. All words likely to be new to the 
pupils should be explained or looked up. The similes, the 
more prominent metaphors and personifications, should be 
noticed and explained in a general way. The pupils should 
mark these figures of speech on the margin of the page for 
future reference and study (see Sec. VIII., "Figures of 
Speech "). Readings by members of the class, in connection 
with the text (see Sec. IV. A, " Readings "). Short Essays by 
members of the class (see Sec. III. a, " Essays "). Passages 



*The lines of work and the methods given in this pamphlet are by no 
means limited to "Evangeline," or even to the Ninth Grade. Many, if 
not most of them, are applicable to the literature, both prose and verse, 
studied in the earlier grades; t'. g., " The Courtship of Miles Standish " 
and the " Legend of Sleep}' Hollow" in the Eighth Grade, " Rip Van 
Winkle" in the Seventh, and "Enoch Arden " and " Macaulay's 
Lays" in the Sixth. 

The minimum of work recommended on "Evangeline" is defined 
at the end of the pamphlet. 



ENGLISH LITERATURE 



Committed to Memory (see Sec. IV. B, "Memory Selec- 
tions")- Questions for Discussion (see Sec. II.) It will 
readily be seen what essays and discussions should be had 
during the progress of the first reading, and what must be left 
till afterwards. It would be well to have the pupils mark in 
the margins the references to customs, dress, and supersti- 
tions, as well as the flowers and birds mentioned by the 
author, so that these things can readily be referred to. The 
date of the action, the locality of the scene, also the charac- 
ters, principal and subordinate, should be kept in mind. 

[Note — Attention given, during the first reading, to the elements, 
both poetic and dramatic, which serve to unite all the parts of the poem 
into one coherent whole, may do much to counteract the narrowing and 
fragmentary tendencj^ of the later analytical work and study of details 
generally. Some of the following threads of unity may be noticed : 

Unity of poetic form, including {a) metre, (b) blank verse, and {c) 
symmetry of parts, — Introduction, Part I., 5 Cantos; Part II., 
5 Cantos ; and Conclusion, same length as Introduction. 

Unity of plot — the narrative of the fortunes of one central character, 

about whom the others revolve. From this unity of plot arise the 

subordinate unities of: 

Time — the compass of one life ; 

Place — the spots visited by the central character ; 

Tone — the pervading tone of chastened melancholy, struck as a 
keynote in the Introduction by such words as "sad," "dis- 
consolate," "wail," sounded again and again in the course 
of the poem, and repeated in the Conclusion ; 

Language — employed to sustain the tone and to give harmonious 

development to the theme ; 
Emotions — revealed in the poem or aroused in the reader.] 



SEC. II. QUESTIONS FOR DISCUSSION AND 
RESEARCH. 

Introduction : What is the tone of the first six lines ? 
What in the text gives it that tone ? In what lines is the real 
theme of the poem announced ? (11. 20-54.) Select those 



IN THE NINTH GRADE. 



expressions that give an idea of the richness of the country ; 
the climate ; the industry of its inhabitants ; their piety. 
Why does the poet represent an evening scene rather than a 
morning or noontide one ? (1. 54.) Is envy the vice of 
republics? If so, why? (11. 6r, 104, Seq.) What does the 
poet make most prominent in his description of Evangeline — 
beauty of form and face, or charm of manner and spirit ? 
Note the climax running through lines 65, 70, 71, 78. The 
mother of Evangeline is not mentioned. Is there any reason 
for that ? (11. 148-267.) Why should the coming winter be 
represented as likely to be severe ? In the description of 
autumn, what is noticeable about the sounds ; the light ; the 
movements ? Do these things harmonize ? What then, is the 
prevailing tone in the description ? For what does the con- 
versation of Basil and Benedict about the English prepare us, 
and what differences in character between the two men does 
it show us? (11. 268-523.) In what particular do the Notary 
and Father Felician resemble each other ? Benedict and the 
Notary both take a favorable view of the intentions of the 
English. Are their grounds of confidence the same ? With 
what does the betrothal feast, with its joy and merry-making, 
contrast ? What is gained in effect upon the reader by intro- 
ducing this scene at just this place ? Why does Basil protest in 
the church against the tyranny of the British, rather than Ben- 
edict ? Which has the greater influence over the Acadians, 
Basil or Father Felician? Why? (11. 499-523.) What new 
qualities of character are disclosed in Evangeline ? What does 
the poet gain by representing the early life of Evangeline as 
so peaceful and happy? (11. 524-665.) What effect is produced 
by the reference (531,532) to the children ? What diflferent 
things does the poet introduce to heighten the distress of the 
scene at the seaside ? What incident forms the climax ? Why 
must Benedict die ? Why should not the story close here ? 
Is there any historical justification for the deportation of the 
Acadiaos ? 

These questions are suggestive and illustrative merely. 
It was thought best not to make any formal classifi- 
cation of them. They range frorn those quite textual in 



ENGLISH LITERATURE 



character to those that call for some recognition of the poet's 
art in construction. The day's reading should be guided by 
questions specially framed to direct attention to significant 
points in the text ; only in this way will the conditions of 
each class be met. 



SEC. III. ESSAY WORK.* 

(a) The Author and His Subject. — i. Sketch of 
lyongfellow's Life; references: "Glimpses of Longfellow in 
Social Life," Century Magazine, April, 1886 ; also life of 
Henry W. Longfellow by F. H. Underwood. 2. The Land of 
the Acadians (geographical and descriptive); references : 
"Zig-zag Journeys in Acadia," Chap. VHL; ''Nation," 
Vol. 43, p. 248, "Acadia." 3. The Acadians in History; 
references : Littell's Living Age, Vol. 44, p. 51 ; Harper's, 
Vol. 69, p. 887. 4. The Acadians in Louisiana ; references : 
Scribner's, Vol. 19, p. t,St, ; " South and West," p. 75, by 
C. D. Warner. 5. How the Poem Came to be Written ; ref- 
erences : " Life of Henry W. Longfellow," edited by Samuel 
Longfellow, Vol. II., pp. 70-73. (This life contains the diary 
mentioned in Sec. IV. A.) The growth of the poem may be 
traced in the diary, Vol. II., pp. 25, 29, 3S, 63, 66, 67, 75, 
76, 80, 81, 82, 83, 85, 86, 95, 96. 

(d) A series of essays, covering the poem, may be read in 
succession by different members of the class : — The Village of 
Grand-Pr^ ; The Home of Evangeline ; The Youth of Evan- 
geline ; An Autumn in Grand-Pre ; The Betrothal ; The 
Scene at the Church ; The Embarkation ; The Acadians in 
Exile ; Trip Down the Mississippi ; At the Home of Basil ; 
The Journey to the Northwest ; Evangeline at Philadelphia ; 
Gabriel Found ; The Superstitions of the /Vcadians ; Home 
Life Among the Acadians ; Character of Father Felician ; 



*See pp. 21-25 of the pamphlet, " English in the Secondary 
Schools," by Professors Giyley and Bradley, to be had of the Recorder 
of the Faculties, Uuiversit}- of California, Berkeley. 



IN THK NINTH GRADE. 



Character of Basil ; Character of Benedict Bellefontaine ; Con- 
trast between the Characters of Basil and Benedict. Besides 
these essays by individuals, the following Summaries may be 
prepared by the entire class : — Summary of Part First of the 
poem (the story concisely retold); a similar summary of Part 
II.; summary of the whole poem — chiefly an exercise in 
reducing the last two to a smaller scale. 

(c) A few subjects for compositions based on the readings 
(Sec. IV. A) may be added : Prairie Life as Described by Irving 
(or lyongfellow); What Longfellow Has Said in Other Poems 
on Topics Mentioned in "Evangeline," e. g., Evening Scenes, 
and Eongfellow's " Blacksmiths " (group i); " King Robert of 
Sicily " — the Story and Its Lesson to Us, also Life and Its 
Duties, as Described by Longfellow (group 2); Miles Standish 
and Basil the Blacksmith Compared, What was Hiawatha's 
Mission on Earth? A Paraphrase of the Spanish Jew's Tale, 
and the Plan of the " Tales of a Wayside Inn" compared with 
thatof Whittier's "Tent on the Beach" (group 3); Glimpses of 
Longfellow caught from his poems, and Longfellow, the 
Children's Poet (group 4); A Poet's Description of Autumn, 
or, of a Rainy Day, or, of a Night from Sunset to Sunrise" 
(group 5«); What a Ship May Mean, also Thoughts and 
F'eelings of a Poet in the Presence of the Sea (group 5 d). 



SEC. IV. READINGS AND MEMORY SELECTIONS. 

(A) Readings in connection with the poem may be divided 
into two classes : 

I. In general, poems or prose from any source, dealing 
with sentiments and scenes allied to those in " Evangeline ; " 
e. g., Bryant's "Prairies," Irving's "Astoria" and "Tour 
on the Praties " (descriptive portions), and the poems of 
group I, below. Some of these selections may be read to the 
class by the teacher, others by different pupils ; still others 
may be read at home, reported upon, and discussed in class. 



8 ENGLISH LITERATURE 

Well-chosen passages from Longfellow's diary will serve to 
bring the real man nearer to us. 

2. Readings of the second class may be grouped as follows 
(the pages refer to the "Household" edition of Longfellow's 
poems): 

Group i- — Poems suggested by passages in " Evange- 
line." "The Village Blacksmith," p. 36 of the "House- 
hold" edition, to be read with 1. 115 of "Evangeline"; 
"The Day is Done," p. 87, with 11. 172-198; "Harvest 
Moon," p. 382, with 1. 348 ; "Flowers," p. 4, stanza i, with 
1. 352; "Curfew," p. 94, with 1. 354; "The Tides," p. 367, 
with 1. 575; "Moonlight," p. 409, with 1. 102S ; " Occult- 
ation of Orion," p. 84, with 1. 1043; "Fata Morgana," p. 
228, and " Elegiac Verse," \^I., p. 410, with 1. 1114; " Hia- 
watha," Sec. XIII., p. 172, with 11. 1213, 1214. 

Group 2. — Poems dealing with human character, and ques- 
tions of life and death. "Two Angels," p. 215 of the 
"Household" edition; "Village Blacksmith," p. 36; 
"Haunted Houses," p. 214; " Resignation," p. 129; "The 
Arrow and the Song," p. 90; "The Two Rivers," p. 383; 
" Haroun al Raschid,"' p. 378; "The Golden Milestone," 
p. 220; "The Builders," p. 130: "Meeting," p. 229; 
"Psalm of Life," p. 2; "Reaper and the Flowers," p. 3; 
" The Grave," p. 20; " God's Acre," p. 37 ; " Ladder of St. 
Augustine," p. 212 ; " King Robert of Sicily," p. 243. 

Group 3. — Tales in Verse. "Hiawatha," p. 141; "Court- 
ship of Miles Standish," p. 191 ; " Tales of a Wayside Inn," 
p. 232 (the last being in three series). 

Group 4. — Autobiographical. "Footsteps of Angels," 
p. 4 : " To the River Charles," p. 38 ; " The Bridge," p. 85 ; 
"The Children's Hour," p. 225; "From My Armchair," 
p. 395 ; " The Haunted Chamber," p. 228 ; " The Old Clock 
on the Stairs," p. 89; " Courtship of Miles Standish," p. 191; 
"My Lost Youth," p. 219; " Morituri Salutamus," p. 354; 
" My Books," p. 414. 



IN THE NINTH GRADE. 



Group 5. — Nature poems, (a) General. — '' Afternoon in 
February," p. 87 ; " Hymn to the Night," p. 2 ; Prelude to 
" Voices of the Night," p. i ; " Flowers," p. 4; "An April 
Day," p. 6; "Autumn," p. 7; "Woods in Winter, p. 7; 
" Sunrise on the Hills," p. 8 ; " The Spirit of Poetry," p. 9 ; 
"The Rainy Day," p. 37; "Rain in Summer," p. 81; 
" Occultation of Orion," p. 84; two sonnets ("Evening 
Star" and "Autumn "), p. 91 ; "Daybreak," p. 223; "En- 
celadus," p. 226 ; " Snowflakes," p. 227 ; "A Day of Sun- 
shine," p. 227 ; Prelude to Part Second of "Wayside Inn," 
p. 272 ; "Night," p. 401 ; "The Poet's Calendar," p. 403; 
" Moonlight," p. 409. 

(d) Sea Poems — " Building of the Ship," p. 122 ; "Wreck 
of the Hesperus," p. 27; "Seaweed," p. 86; "Secret of 
the Sea," p. 126; "Twilight," p. 127; "The Eighthonse," 
p. 128; "The Bells of Lynn," p. 320; "Milton," p. 365; 
"The Sound of the Sea," p. 366; "The Tides," p. 367; 
" Dedication of Ultima Thule," p. 394 ; " Elegiac," p. 398 ; 
" The City and the Sea," p. 407 ; " Sir Humphrey Gilbert," 
p. 127 ; " The Phantom Ship," p. 212 ; " Ballad of Carmil- 
han," p. 2S0; "Sagaof King Olaf," XHI. and XIV., p. 256. 

(B) Meviory Selections.— \J\.nes 1-19 ; 52-57; 78-81; 
326-9; 351-2; 382-6; 482-6; 497-501; 605-12; 682-92; 
720-7; 778-84; 852-4; 1035-44; 1089-1105 ; 1106-15; 
1150-7; 1245-51; 1270-5; 1345-80; 1385-9. 



SEC. V. PRECIS WORK. 

{a) A Rtinning Outline is made up of broken jottings— 
an informal mixture of words, phrases, and short sentences, 
entire or decapitated — separated from one another by dashes. 
It affords practice in the separation of principal from minor 
thoughts, and is a good preliminary to the Smmnary and 
A bstract. 



lO ENGLISH LITERATURj; 



{b) A Summary (see Third Reader, p. i8o) is a much con- 
densed resume of the chief points of the original, being only 
from one-tenth to one-fifteenth its length. Repeating none of 
the conversations in the original, and thus employing only the 
third personal pronoun, it aims to give, from an outside stand- 
point, merely a connected account of the narrative, such as a 
reader might do when requested to "tell the story." The 
Summary usually employs only the "incomplete" tenses, 
especially the present. 

{c) A Stcmmary by Stan::: a- Sentences is somewhat stricter. 
Being limited to a single sentence to each stanza, it is a severe 
test of the power to penetrate to the central thought of the 
stanza, and then adequately to represent that thought in a 
single, well-turned sentence. Sample Summary by stanza- 
sentences of Canto I. (four stanzas): — Near the Basin of Minas, 
in the midst of fields of corn and flax, stands the little Acadian 
village of Grand-Pre, with its simple people dwelling together 
in the love of God and man. Not far from the village lives 
Benedict Bellefontaine, its wealthiest farmer, a man of seventy 
years, and with him his daughter of seventeen summers, the 
gentle and beautiful Evangeline. The .strong, oak-timbered 
house of the farmer overlooks the sea, while the well-filled 
barns on the north protect it from storms. Here Evangeline 
lives, and is visited by numerous suitors, of whom Gabriel, 
her schoolmate and childhood's companion, alone is welcome; 
and, now that they are grown, they are soon to be married. 
(1465 words reduced to 117 ; scale, 12^2 : i-) 

(d) The Abstract, in its ideal form, should be an accurate 
mmiature likeae.ss (from one-fourth to one-eighth the length) 
of the original, such as the author himself would have made, 
had he written his story in prose of much smaller compass. 
It will be a smooth, unbroken condensation, omitting minor 
details and all expressions not entirely necessary, but retain- 
ing the form of speech wherever conversation occurs, and, as 
far as possible, preserving the style. Abstracting well done 
in connection with a good author, is next in value to good 
original composition as a means of training. Sample extract 



IX THH NINTH GKADIC 



II 



of Canto II., 11. 199-234: The farmer sat by his fireplace, 
watching the flames, which threw huge shadows behind him, 
and glanced back from the pewter plates on the dresser as 
from shields. Sitting thus, he sang fragments of the songs of 
his forefathers, the clock's tick and the hum of Evangeline's 
spinning-wheel filling the intervals of his singing. Then foot- 
steps approached, the door opened, and Basil and Gabriel 
entered. "Welcome, Basil!" cried Benedict; "take thy 
accustomed seat, and light thy pipe, letting th}'- ruddy face 
shine through the smoke w"reathes." Smilinglj' Basil replied, 
" Benedict, thou art ever joking, even though others are 
filled with gloomy iorebodings." (403 words reduced to loi ; 
scale, one-fourth.) 



SEC. VI. TOPICAL ANALYSIS. 

(a) Stanza-Topics may be made out ; their fitness is a test 
both of the unity of the stanza and of the scholar's perception 
of its central thought; e. g., Canto I. : i. The Village; 2. 
The Bellefontaines ; 3. Evangeline's Home ; 4. Evangeline's 
Suitors and Childhood (betraying a slight lack of unity in 
stanza 4). 

[U) Topical Analysis of Canto I., Part I., in Tabular Form. 



Canto topic, 
Evangtl- 
ine's early 
life (11. 20- 
147) 



rTIie Villasje 
(11. 20 57). 



The home of 
Evangeline 

(11. 58-104). ...\ family. 



^""^""^""-''■•{dfslant 

houses pnatroiis aiul maidens 

vinagelife fe^^ ^^'>^-" 

( village customs 



homestead... 



Evangeline's 

suitors ( 11. 

I iOj-147) 



( father 
'( daughter 

/ situation of house 
J surroundings, near and 
'1 distant 
{ barns 



unsuccessful 
.suitors ^parentage and station 

Gabriel ^companionship with Kv. 

(their present relations 



( in school 
I at play 



12 



ENGLISH LITERATURE 



(c) Gentnal Analysis o{ ihe Poem. 



3- 
III. 



Introduction. 

The Home of Kvangeliiie. 

Village of Grand-Prt;. 

The laniily of Evaiigelitie. 
a. Description of Benedict B. 
h. Description of Evangeline. 

The house and farmyard. 

Childhood of Evangeline. 

Evangeline's suitors. 

Gal riel and Evangeline. 

The Betrothal. 

The season and its occupations. 

The evening scene at the farm- 
house. 

Evangeline alone. 

The Day of the Proclamation. 

The feast of the betrothal. 

Scene at the church. 

The evening; Evangeline awaiting 
her father. 

Evangeline's desolate home. 



3. 
VII. 



3- 
4. 
5- 
6. 
7. 
8. 
VIII. 
I. 



The Transportation. 

Assembling at the seaside. 

Scene on the shore. 

Burning of Grand-Pre. 

Death and burial of Benedict. 

The Search. 

Scattering of the Acadians. 

Evangeline's ronstancv. 

Trip down the Mississippi. 

Stay at Basil's home. 

The trip Northwest. 

At the Indian Mission. 

The lodge in Michigan. 

Further wanderingsofKvangeline. 

Resignation. 

The Acadians in Philadelphia. 

Evangeline a Sister of Mercy. 

Gabriel Found. 

The pestilence in the city. 

Sabbath Day in the hospital. 

Meeting and recognition. 

Conclusion. 



The large divisions may be discovered during the first 
reading, subdivi.sion left for future work. 



SEC. VII. PARAPHRASE WORK. 

Much so-called paraphrasing is worthless as a laiij^uage 
exercise. Changing the order of words and phrases, labor- 
iously substituting synonymous expressions, so-called, is not 
paraphrasing. It is more often an effective drill in looseness 
of expression and lack of precision. 

The first pre-requisite is thorough possession of the thought 
of the passage. Then the directions should be— clothe the 
thought in your own language : so express it that your knowl- 
edge of the exact thought of the author may be apparent ; 
give all the thought, even to the "reading between the lines." 

At first, a line or two is all that should be taken for para- 
phrasing, and the thought thoroughly developed by question- 
ing ; as, for instance, 1. 140: "Thus passed a few swift 
years, and they no longer were children." To what does thus 
call your attention ? Were the years swift? What was really 
swift? Who are referred to by "they"? If they were no 
longer children, what were they? etc. The result may pos- 



IN THE NINTH GKADE. I3 

sibly stand thus: "In the childish sports just described, a 
few years seemed to pass swiftly by, and Gabriel and Evan- 
geline were now grown up." It will be noticed that in this 
instance no attempt has been made to change words merely. 
The following passages are indicated as quite suitable for 
paraphrase: 11. 353-81; 613-23; 769-89; 871-83; 1027-5S ; 
1180-90; 1 116-26; 1170-87; 1298-1308; 1343-75. 



SEC. VIII. FIGURES OF SPEECH. 

Some special study of the similes, metaphors, and the few 
noticeable personifications that have been selected during the 
general reading may be had along the following lines: i. 
Source of figures, as nature, rural life, the sea, involving 
allusions to the Bible, etc. 2. Harmony of the figures — gen- 
eral, with the character of the poem ; special, with the imme- 
diate situation, etc. {iddc, 11. 619, 620, 1159, 1160, and others). 

Of figures of association, the metonymy and synecdoche 
may be recognized. While clearly fixing the distinctions, 
fail not to show that one principle — similarity — underlies the 
simile, metaphor, and personification ; that a certain relation- 
link, not similarity — is present in metonymy and synecdoche. 
Occasionally ask the pupils to suggest original figures appli- 
cable to the situation, and discuss their fitness. 

The following general form for analysis of figures may be 
helpful : 

1. Give or indicate the text involved. 

2. Give the same in literal language. 

3. Name the figure, and the imagined or figurative part. 
In certain figures this may consist in giving the imagined 
thing, as illustrated below ; in others, in naming the figura- 
tive word or words. 

4. Explanatio7i. This may include different perceptions, 
varying according to the power of the class and the kind of 



14 ENGLISH LITERATURE 



figure, as, point of similarity. What suggests the imagined 
term to the mind ? What is gained by the use of the figure, 



;tc.? 



ILLUSTRATION. 



1. Text. * * * " Flashes of flame were thrust through 
their folds and withdrawn, like the quivering hands of a mar- 
tyr." (11. 619, 620.) 

2. Literal. Flashes of flame, now and then, were seen 
darting through the masses of overhanging smoke. 

3. Name and Imagined Part. (The figure is a simile.) 
The hands of a martjT burned at the stake, seen from time to 
time through the smoke, as they are raised aloft in prayer or 
agony. 

4. Explanation. The fact that both objects appear and 
vanish quickly amid folds of smoke, suggests the comparison. 
The idea of martyrdom accords with the horror of the situa- 
tion. The Acadians were, in a way, martyrs, etc. 



SEC. IX. GRAMMATICAL AND WORD WORK.-i^ 
TRANSPOSITION. 

The grammatical questions on the following text may serve 
to illustrate these principles: As far as possible, connect 
grammatical work with literary text ; associate grammar with 
the meaning, or logic, of the text ; develop inductively the 
grammatical forms ; lead the pupil to see relations before giv- 
ing him their names. (It must not be inferred that these 
questions should all be asked on one occasion, or that they 
are all Ninth Grade questions. It is true, however, that the 



■■'The word work and study of sentence-relations, both logical and 
sjutactical, indicated in Sees. IX. and X., are of the utmost import- 
ance in giving the pupil a perception of the value of each word in its 
place, as well as a comprehension of the force of each sentence as a 
whole. 



IN THE NINTH GRADE. 15 



power quickly to recognize clauses as distinct statements, and 
then to give the relation of each in the sentence, is often 
poorly developed in scholars analyzing quite long compound 
and complex sentences with some glibness ; in such cases the 
work is, in fact, unsound and mechanical. Different text 
affords opportunity to bring out various points, and it is well 
to push, or at least to keep prominent, one thing at a time.) 

" Multitudinous echoes awoke and died in the distance, 
Over the watery floor, and beneath the reverberant branches. 
But not a voice replied; no answer came from the darkness; 
And when the echoes had ceased, like a sense of pain was the 
silence." (11. 796-9.) 

(a) Transposition (useful as a test of the pupil's perception 
of the meaning of the text, and through it of the grammatical 
relations involved). Restate the last line in the usual prose 
order. 

(5) Grammatical Work. Select each clause or statement 
in the above sentence. What words serve to join the state- 
ments with anything outside themselves? In what cases are 
there no such words ? Can you supply any ? Do you think 
that and would be an appropriate word instead of bid ? 
(1. 798.) In what way does " no answer came," etc., continue 
the thought of the preceding statement ? You see that this 
sentence (the selection) is divided into statements, some 
more closely connected than others. If required to separate 
the sentence into two large divisions, where would the .separ- 
ation take place ? The echoes awoke where? The awaken- 
ing occurred where as to distance ? floor ? branches ? Then 
each serves to connect the idea expressed in what two words? 
The words in, over, beneath, all define one thing ; what is it ? 
What two define opposites as to place ? What one word would 
express the same idea, nearly, as "in the distance"? Then 
these words taken together (phrase) have a meaning and use 
like a single word. Awoke — what time is expressed by this 
word ? What form of the word expresses present time ? 
Notice the difference in time (same treatment of replied and 
ivas^. Then what three ways of indicating in the verb the 



l5 ENGLISH LITERATURE 

difference between the present and the past have you dis- 
covered ? Can you give other illustrations of each ? 

(c) Word Work. From what word does watery look as if 
derived? What has been added? What is the meaning of 
water? of watery f What part of speech is water f watery"? 
Thus bring out the meaning of the suffix, and the fact that 
adjectives are derived from nouns by adding ji^ or ly. Call for 
other examples. Treat in the same way darkness, etc. What 
does watery tell about or define as \.o floor ? Does imdtitiid- 
inous tell what the voices were made of? Then what does it 
define? Then one defines material, the other, number ; give 
other adjectives of same kind. The dictionary should be con- 
stantly in use for pronunciation and the meaning of words 
new to the pupil, or employed with a new meaning. Word- 
hunting and pride in the daily use of good English should be 
encouraged ; to this end, synonyms and antonyms may be 
brought forward and grouped, two close synonyms may be 
compared so as to bring out their common ground and their 
differences; e. g.^ torrents, 1. 1087, 2>.n^ streams, 1. 1089; sky 
and heaven, 1. 1104 ; embers and ashes, 1. 1112 (see Sec. X.,t/ ); 
or the various uses of a single word may be seen by following 
it through several passages ; e. g., of \u \. 103 =^ in or living 
in; 1. 107 =^ belofiging to; 1. 1 10 =^ made from the material ; 
1. 116 ^= by; 1. 122 = from; as in 1. 64 =^in the degree . . . in 
'tvhich; 11. 105, 109, and 112 = when; 11. 120, 276, 303, and 317 
= in the relation of; 1. 379 - in the mangier . . . in which; 
words may be marked and listed in classes, such as all names 
of trees and flowers, of birds, of emotions or traits of character 
displayed, architectural terms employed (11. 770-797), words 
used to arouse a certain feeling in the reader, etc. 



IN THE NINTH GRADE- I7 



SEC. X. FORMS USED IN ANALYSIS. 

(a) Simple Scntc7ices. 

1. Kind of sentence. 

r subj . 

2. Principal elements .| pred. 

(comp. 

3. Independent elements. 

fsubj. 

4. Modifying elements of. . J P^ed. 

I comp. 

[ indep. el. 

5. Connecting elements. 

{b) Compound Sentejices. 

I. Kind of sentence. 2. Composed of (2, 3, etc.) mem- 
bers. 3. Designate the members. 4. State relations between 
members and give connectives. 5. Take up each member in 
order, and deal with it as if it were a separate sentence. 

if) Complex Sentences. 

I. Kind of sentence. 2. Consisting of a principal and — 
dependent clause(s). 3. Designate principal clause. 4. Des- 
ignate each dependent clause in order, stating its function, 
and giving the connective. 5. Take up each clause, and 
analyze it as if it were a separate sentence. 

Example illustrating all three of the above forms : 

"Solemnly down the street came the parish priest, and the 
children 
Paused in their play to kiss the hand he extended to bless 
them." (11, 43, 44.) 

ANALYSIS. 

This is a compound declarative sentence, composed of two 
members, one of which is complex. (The sentence might, 
therefore, be called covn^lo^^-compound, but not compound- 
complex.) 



l8 ' ENGLISH LITERATURE 



/St Membe)-. — "Solemnly . . . priest." 

2d Member.— ''The: children . . . them;" related to the 
first as additional or aumdalive (also, in this case, successive 
in time), and connected by and. 

Tst Member. — The first member is simple. 

r sxib. priest the, parish [sub. ) | 
Frui. cl . . ^ pred. came solemnly, down > ■ Mod. 
( co7np. the street {pred. ) ) 

Indep. el. Conn. down. 

2d Member. — The second member is complex, consisting of 
a principal, and one dependent, clause. Principal clause, 
"The children , , . hand;" subordinate clause, "(that) he 
. . them,"— a limiting adjective clause, modifying Z-^;/^, and 
connected by that understood. 



Prin. r/.— Simple. Sicbord. 67. —Simple. 

I'rin. ^j. children the (J.) \ /'/v//. ( j. he — (j- ) > 

tV. .. ^/>. paused in their play, f , , , <?/../. extended to bless , ,. ^ 

ic. tok.ssthe \-'^''>''- IWy.r. that them (/,-^</.) (■-^^'"^• 

hand (pred.) ) ' ' ) 

I)idep. cl. Conn, in, to Indep. el. Co7in. to. 

{d) Sy)i07iyms. 

1. List of near synonyms, underlining the two or more 

to be discussed. 

2. Common meaning of the words chosen. 

3. Distinct uses of the words chosen, showing the dif- 

ference in application. 

4. Examples. — Sentences designed to illustrate Nos. 

2 and 3 above. 

{e) Similes ajid Metaphors (special form). 

I. Text. — Quote the exact text of the figure, under- 
scoring the figurative part. 



IN THE NINTH GRADE. I9 



2. Paraphrase. — Restate the literal meaning of the 

entire text, taking care not to use the figura- 
tive language. 

3. Terms Compared. — {a) L/iteral ; {b) Figurative. 

4. Poifits of Comparison. — State all the points of like- 

ness that were probably in the author's mind. 



SEC. XI. SUMMARY. RULES FOR PUNCTUA- 
TION, BASED ON GRAMMATICAL 
RELATIONS. 

I. Separation of Clause Elements. 

A. Co-ordinate Clauses. — i. The members of a compound 
sentence, when short and closely connected, are separated by 
the comma. 2. The semicolon is u.sed (a) when the comma 
has been used within the members ; {b) when the conjunc- 
tions are omitted between the members. 3. The colon is used 
(a) when the semicolon has already been employed to separ- 
ate the compound parts ; (b) when the members are so 
slightly connected that separate sentences might have been 
employed. 

B. Siibordinate Clauses. — In general, subordinate clauses 
are set oflf by the comma. Exceptions : {a) restrictive adjec- 
tive clauses ; {U) adverb clauses, when short or very closely 
connected ; {c) noun clauses, unless attribute complements, 
are not set off; but when the noun clause is a direct quotation 
a comma is used, and, in case the quotation is formally intro- 
duced, a colon. The subject clause, however, is not set off, 
even though it be a direct quotation. 

II. Separation of Word and Phrase Elements. 

I. The parts of a series of words or phrases in the same 
grammatical construction are set off by commas, unless all the 
conjunctions are expressed. Exception: when each adjective 



20 ENGLISH LITERATURE 



of a series modifies the entire expression following it. 2. 
Parts of a compound predicate — indeed, of any compound 
element — when long or differently composed; 3. Words and 
phrases in apposition, including appositional terms connected 
by or; 4. The participial phrase, unless restrictive; 5. 
Phrases out of natural order, unless short and closely con- 
nected in thought; 6. All words or phrases used independ- 
ently, or nearly so — these are all set off by commas. Inde- 
pendent expressions, however, when distinctly exclamatory, 
are set off by the exclamation point or the dash. 

III. Additional Rules. 

I. A direct quotation, if a clause, is always set off, unless 
it be the subject : if formally introduced, the colon is used. 
2. The colon is employed before a formal statement of par- 
ticulars when "as," "namely," " viz.," are not used. When 
these introductory words occur, they are preceded by a semi- 
colon and followed by a comma. 3. Expressions slightly 
parenthetical are set off by commas ; when more formal, the 
dash is used. 4. The dash also indicates a sudden change 
in, or unexpected addition to, the thought. 5. The subject 
should be separated from the predicate by a comma when the 
former ends, and the latter begins, with a verb. 6. Employ 
double commas in a simple quotation, and single commas 
about a quotation within a quotation. 



MINIMUM OF WORK RECOMMENDED. 

Time, ten weeks, five recitations per week. 

Sees. I. and II. entire, accompanied by the poems of group 
I, Sec. IV., A, 2. 

Sec. III. a and c, entire class to write on any two subjects, 
preferably i and 5 of 3 «, and any two or three of 3 b. For 
rules of punctuation, see Sec. XI. 



IN THE NINTH GRADE- 2 I 



Sec III. /?, papers by selected pupils, ad libitiim. 

Sec. IV., A, 2, each pupil to read by himself any one group, 
or a or b of 5 (group i being assumed to have been read in 
class). 

Sec. IV. B, several passages, aggregating forty or fifty lines, 
mostly by volunteer selection. 

Sec. v., a, b, d, a running outline, a summary, and an 
abstract, to be made, in succession, of one and the same 
Canto : say Canto 2 or 3, Part I., which contain conversation. 

Sec. V. c, a summary by stanza -sentences of several cantos 
should be made. 

Sec. VI., a, b, stanza-topics and tabular topical analysis of 
three cantos, preferably Cantos i, 4, and 5, Part I. 

Sec. VII., paraphrase a few short passages, aggregating 
perhaps ten exercises, thirty lines alTogether. Apply in the 
analysis of figures. Sec. VIII. 

Sec. VIII., in particular, analysis of some five similes and 
five metaphors, according to the form. Sec. X. e. 

Sec. IX., transposition and word work wherever needed to 
render the thought clear ; at least six or eight sentences of 
each of the three varieties to be analyzed according to the 
forms in Sec. X. These forms will thus become familiar 
working tools. 

[Note — Ou the knowledge of grammar that every graduate of the 
Grammar School should possess, see page 15 of the pamphlet by Pro- 
fessors Gayley and Bradley, mentioned above. Sec. III., Note.] 



THE END. 



ENGLISH LITERATURE 



IN THE 



Ninth Grade 









ILLUSTRATED BY WORK WITH LONGFELLOW'S "EVANGELINE." 



ADELBERT E. KEI.LOGG 

AND 

MILTON E. BLANCHARD, 
LOWEI.L HIGH SCHOOL, SAN FRANCISCO. 

[Printed by order of the San Francisco Board of Education.] 



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